Bitter Sweet Symphony

杭州素乃吾爱，若果没有[糟透了的交通和投机取巧的插头司机]就堪称完美。

感悟是：要看好风景，一定要早起。最完美的日程就是，五点起床六点钟看风景，等到景区游人如织的时候就干脆跑到市中心去吃饭买衫好了也没什么损失。

是愈发懒得写字了。。。便看图说话吧！

2月28日，我们来到了风景秀丽的厦门鼓浪屿，住在娜雅——论情调绝对是一等一的家庭旅馆[更劲爆的是人家是德国领事馆旧址。。。]，不过舒适程度呢跟第二天的青年旅馆相较还是有差距的[像洗了20min澡便没热水这种事情令我十分恼怒。。]

[娜雅的猫是一绝，这只叫张三疯，最爱凹造型凝望窗外，离开的那天我们怂恿一位同学去抓它，未果，害得我们忘了买babycat的饼便离开了鼓浪屿。。。]

[美丽的后院。。。]

然后呢我们就开始暴走鼓浪屿，真是，又美丽又和谐的小岛[不过好吃的东西寥寥，不如厦门市内。。。]

[这个是娜雅旁边的hostel 也很正的！还有一只表演欲超强擅长装死的大狗！]

走到晚上，游客散尽，整个小岛宁静下来，小贩在昏黄的路灯下，闲闲地依在墙上，并不卖力招揽生意。

第二天呢入住的是青年旅馆，又美丽又舒服的地方，细节最touching了！

hostel离开厦大好近。这个大学，号称是中国最美丽的大学，明显就是最奢侈的大学！哪里的大学会有依山临海这种好事！美到爆镜噢！

又农家乐了一把，假惺惺采了两斤草莓。

至于厦门市内呢，最值得一提的就是食肆啦！ 

[黄则和的沙茶面，鸭肉和鱿鱼浇头，嗯，很口水！]

[蚝干粥，料足得要命！]

[超正的芒果冰！号称厦门最牛的芒果冰！为找这家店，我们在一条路上来回走了6遍。。问了至少4个行人。。花了至少一个小时，不过芒果冰入口的那一刹那，我觉得，人生的意义都被我找到了。。。] 

[鲜蚝馆，吐血推荐再次！这几只蚝足以令我铭记。。。为了它们，我们经历了：飞车打的，最后一分钟机场check in，拎着打包的蚝过安检，在候机大厅里把生蚝当作面包吃飘香四溢。。。]

[插播广告，娱乐大众]

3月1日 恋恋不舍地离开了厦门。

新学期好！紧锣密鼓的开学第一周过半，我要来，表表决心，亮亮心声。

首先，这个学期的时间紧，任务重，我要有效，愉快地完成以下事项：

1、旁听。必听的课有：陆谷孙老师的英美散文。

2、想海绵一样主动地学习金融小知识。

3、带着有爱的眼睛去游历祖国的大好河山。在日程中的目前有：厦门、成都。希望能集思广益，开辟新路线，寻找新惊喜。

4、yes，驾照。作为完成该项任务的第一步，请保佑我明儿，噢不，是今儿，补考交规成功!

嗯，谢谢大家！

今天看了一部精彩的科幻片儿名叫12 monkeys, 比较好玩的是其中出现了不久前看得另一部惊悚片The birds by Hitchcock。便想到了在yale上过的film genre的一门课，有讲过horror film和science fiction film。想来最近看了许多这俩genre的电影，故翻出了当时的course reading以及class notes，读来还蛮有趣的，以下为摘录。

◢ A good science fiction story is a story with a human problem, and a human solution, which would not have happened at all without its science content.

◢ Horror and Science Fiction: a problem of classification.

One major difference between the genres lies in their sphere of exploration, their emphasis. The horror film is primarily concerned with the individual in conflict with society or with some extension of himself. The SF film with society and its institutions in conflict with each other or with some alien other.

Therefore, the arena for conflict in the horror film is usually as small as a minute town tucked in the Carpathians, an old castle, or an English village, while the arena for the SF film is most often the large city, the planet earth itself.

If one genre is as large as the human soul, the other is as large as the cosmos.

Both genres deal with chaos, with the disruption of order, but the horror film deals with moral chaos, the disruption of natural order (assumed to be God’s order), and the threat to the harmony and health; the SF film, on the other hand, is concerned with social chaos, the disruption of social order (manmade), and the threat to the harmony of civilized society going about its business.

The creatures and monsters of certain SF films seem to roam the earth almost as if by accident. In the horror film, however, the monster seems less accidental; he seems to arise inevitably out of a personal Faustian obsession or the inherent animal nature of man.

Monster in the horror film: anthropomorphic[拟人] form

Monster in the SF film: less personalized, has less of an interior presence than does the monster in the horror film In SF film, after the initial shock at the creature’s appearance, our interest lies not in what it thinks or feels, but solely in what it will do and how it will do it—in other words, its external activity. Our sympathy is never evoked by an SF creation; it remains, always a thing. [So kingkong is better defined as a cross-genre film?]

Conversely, in the horror film there is always something sympathetic about the Monster, something which gives us a sense of seeing the world through his eyes, from his point of view. He is not other than Man; he is the darker side of Man and therefore comprehensible. [Frankenstein]

The “He” of the horror film becomes the “It” of the SF film. “It” is an accident, something disconnected from human experience and human intention. It does not possess a tortured soul. We view it primarily as an externally realized object with no “insides” to speak of; it is not terrifying beyond the first shock of seeing it. Since it does not menace one lone individual, it threatens us all and as a result, the individual viewer does not feel singled out as victim. Therefore, there is not much horror in SF films.

We are all potential victims of ourselves, our passions, our animal lust, our unholy and earthly desires. We all live as the offspring of Original Sin and we are all monsters but for the grace of god which is not logically comprehensible. This is what the horror film in its traditional guise suggests to the viewers. The traditional horror film is about anything, it’s about Man’s fall from grace, his expulsion from Eden, his dependence on the potentially redemptive power of love.

Science Fiction films invite a dispassionate, aesthetic view of destruction and violence—a technological view. Things, object, machinery play a major part.

◢ Magic, science, and religion.

The three interact in the SF film as they do in society, fulfilling our need for comprehensible answer to cosmic questions. All three attempt to reconcile man to the unknown.

Magic is, like science, essentially optimistic—a system of belief which is based on the assumption that man is capable of affecting his environment and his own destiny. What distinguish magic from science is how much we know about the process and the product, how much we are told about the cause and the effect.

The function of magic is to ritualize man’s optimism, to enhance his faith in the victory of hope over fear.

Religion is pessimistic in its system of belief; man, himself, is not seen as able to control his destiny or much of his environment, and must place his faith not in the efficacy of action through process, but in the benevolence of a super power.

Religion’s function is to socially affirm and make supportable man’s inadequacies. This function results in group activity which gathers man into a congregation to control his fear and terror of the inevitable, the uncontrollable, and the unknown.

◢ The dehumanization of Humans

The ultimate horror in SF film is neither death nor destruction but dehumanization, a state in which emotional life is suspended, in which the individual is deprived of individual feelings, free will, and moral judgment…this type of fiction hits the most exposed nerve of contemporary society: collective anxiety about the loss of individual identity.

[无人能及你高音潇洒 却极像男生 谁能像你炽热冷酷集结一身]——极爱这句，虽然Kay的高音并不清越但胜在作风够潇洒，生小孩结婚利落得让人大跌眼镜，声音特别，做成电音很有层次感，还有wyman给她写[神奇女侠的退休生活]这样的趣致怪词，个人最中意这句[可惜我已经退休 一早已养尊处优]，粤音真神奇。

无所事事的状态终于演变为无聊，继而蔓延为恐慌，连[故意制造的小亮点]也不过证实我一点也不文艺。

事情是这样的，有一条为文艺青年们津津乐道的小马路叫做[莫干山路]——我原是不知道的，但远方来友心心念念此地，余当奉陪之，并暗想接受一下熏陶也好。

可，这个被gov关怀的[创意园区]，地广人稀，在冬天，更是显得凄清。在不知所谓地参观了若干个现代派画廊后，便心怀着[由于看不懂现代艺术而产生的]不安，离开了。

后来，我们在咫尺处，发现了比较浅显的艺术形式。

唉。。原来我只是，一个用手机随便拍拍涂鸦的青年罢了。

比如看看上东区[literally]小朋友们的纠葛，讪讪地感叹自己白活了

或者窥视并且yy一下引人遐思的[时尚界]

[住在帝国大厦里的]豪门的恩怨情仇。。。看起来也很爽！

当然，[用买鞋子来释放压力的]职业女性不仅可以企及，甚至是未来写照。。。

因此类似hotel babylon，出差的话和同事挤一挤，住个标准间也不是不可能。。。

So，我们是有理想有前途的我们不是害虫，as long as我们少花点时间看电视剧

感动死了终于考好了，真是死去活来，噩梦一场：我，两天也就是48小时只睡了up to 4小时：去IB可算是qualified了呢！更惨烈是明儿还要早起ac for 5h!。。。总之恨死通宵背书了，除了：变成碎食机，神经质，增重两斤，学以致用一句新的骂人话。。。以外，还留下什么呢？这愚蠢的本科生教育！

anyway这个学期结束啦：从学期初拒直研，到间中收KP定心丸一枚，到学期末收到UIUC admission——真跌宕啊，不过真奇怪：纠结如我，心态却没有ruined掉。总之还没有决定啊，我要看看我的无敌ps杀伤力到底如何哈哈，而且。。。而且懒到还有两个学校没有寄出去。。。

寒假呢，有好多plan嘎，可是没收入呀，本来还想intern：可惜差一点成为我东家的那间公司诚恳地拒我道：我们winter intern 既position有限。。。

md看不下去了：这就是经济学咩？？除了 let's assume 以外就是modelize common sense？

森 年 fai  咯！

我说你们啊，一定要快乐噢！

那就来回顾一下零柒年好咯，线形地讲，无非就是：

intern-gmat-final-yale-intern-job hunting/applying-final

展望一下零八年？健康lo，快乐lo

offer？无所谓啊，尽人事听天命lo

还有什么要说的咩？我好相信journey就是reward的嘎! 所以要好珍惜每支journey噢

还有？拜托那些资本主义的编剧也不要动不动就on strike吧

[-喂，我说，你感叹词未免也用得太多了吧~

 -要对生活又热情才是，不是吗？

 -囧]